DOCSLIB.ORG

Irony As a Literary Stylistic Device in Amos’S Choice of Metaphors: Reading from the Perspective of the Tigrigna Proto-Semitic Language

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Irony As a Literary Stylistic Device in Amos’S Choice of Metaphors: Reading from the Perspective of the Tigrigna Proto-Semitic Language Irony as a Literary Stylistic Device in Amos’s Choice of Metaphors: reading from the perspective of the Tigrigna Proto-Semitic Language Berhane K Melles and Bill Domeris1 Abstract This article investigates irony as a literary stylistic device in the Keywords book and analyses the effect of irony on the likely complex Ironic metaphors; Irony; Figurative languages; Linguistics approach; metaphor texts read in the perspective of the Tigrigna Proto- Prophets’ speech; Pro-Semitic Semitic language (see Appendix A). In the introduction, the state languages of scholarship on literary and rhetorical devices and theories of About the Authors2 irony and metaphor have been reviewed. In the two following Berhane K Melles sections, irony is distinguished as a literary stylistic device in the PhD student book; and engaging the language and culture of Eritrea, selected Bill Domeris ironic metaphors (4:1–3; 5:1–3; 5:18–20; 7:7–8; 8:1–3) are analysed PhD , University of Durham Bill is a Biblical scholar and a and interpreted for the possible meanings in the integrated Senior Academic at the South Tigrigna language and culture (TGN) versions. In Eritrea, in African Theological Seminary. He Tigrigna ethnic, figures of speech—irony and metaphor are part of is also a research associate at the University of Pretoria and the their culture and we have chosen to read Amos through Eritrean University of the Free State. eyes. 1 This article is a PhD thesis summary submitted by Berhane K Melles in 2019. Title of thesis: 2 The views expressed herein are Irony as a Literary Stylistic Device in Amos’s Choice of Metaphors: reading from the those of the authors and do not perspective of the Tigrigna Proto-Semitic Language. Supervisor: Bill Domeris. necessarily represent the beliefs of the South African Theological Seminary. Conspectus—The Journal of the South African Theological Seminary ISSN 1996-8167 https://www.sats.edu.za/conspectus/ This article: https://www.sats.edu.za/melles-domeris-irony-as-a-literary-stylistic- device Conspectus, Volume 28, September 2019 5 1. Introduction The language of Amos is dominated by figures of speech. Good’s (1980) systematic focus on irony in the OT has caused many biblical scholars to work on irony in biblical literature. Recently, a few studies have been done on irony as a figure of speech in the book of Amos. Irony, ቅኔ (qinie), in the Amharic language is classified into two ሰም (sem) and ወርቅ (werq) where ሰም (sem) reads the sentence literarily and (werq, meaning ‘gold’) compares the meaning of the sentence to mining for gold. Conceptually, irony, ቅኔ (qinie), is understood in Tigrigna the same way as it is in Amharic. Metaphor, in Tigrigna culture, is a figure of speech by which speakers introduce any issue, to draw the attention of the audience as well as to unpack briefly the importance of the package. Moreover, irony, another figure of speech, is introduced when a speaker wants to say something specific, but communicates it in a colourful way of speaking, which we call ውሕሉል (respectful words) ላዛ ዘለዎ ዘረባ kind words) in Tigrigna. Tigrigna tradition has been much influenced by the Old Testament lifestyle, as in marriage, death, religion, language and so on. The sister Semitic languages, Geez, Amharic and Tigre, could articulate something in common, out of unity in diversity, to minimise the gap in understanding the texts of the Scriptures. The research has identified and defined the well-known figurative languages, which may include metaphor, simile, personification, irony, metonymy, symbol and synecdoche as conceptual thoughts in order to clearly identify irony in the book of Amos. The aim of this study is, therefore, to examine the possibility of interpreting the biblical ironies and ironic metaphors found in the book of Amos in the context of Tigrigna language and culture (TGN) in an integrated reading of the two Tigrigna Bible versions. 2. Scholarship on Literary, Rhetorical Devices and Irony in the Book of Amos 2.1 Literary and Rhetorical Devices Some examples of devices, structuring the book as literary, rhetorical strategies and poetic techniques, done by Mays (1969), Andersen and Freedman (1970), Stuart (1987), Hayes (1988), Smith (1989), Noble (1995), Hubbard, Bramer himself, and Limburg (Bramer 1999), Möller (2000) and others portray in the scholarship to understand the message of the book, have contributed a lot in building the small library of the book of Amos. Melles and Domeris, Irony as a Literary Stylistic Device in Amos’s Choice of Metaphors 6 However, the function of figurative languages in the communication has not been investigated in the techniques and organisational patterns as interpretive strategy to understand the message of the book. 2.2 Defining Irony Unlike other figures of speech, irony is not easily identified, and it is more difficult to comprehend its meaning in the Scriptures. A text with irony makes it more complex for the implied reader to understand the speaker’s utterance, than it does for the intended audience, that could at least associate the appropriate irony of their time with its techniques of communication for better interpretation. According to Duke, irony can be described as ‘beautiful, brilliant, inviting, sometimes comic, sometimes cruel, [and] always enigmatic’ (1985:8). Stable irony is intended or created deliberately (Booth 1974:5). Duke, considering Booth’s stable irony perception, argues that irony is unintended (Duke 1985:19). According to Lee, ‘situational irony is the presentation of events in which there are incompatibilities of which at least one person is unaware’ (Lee 1988:32). Dramatic irony is the irony of theatre, but it could be abundantly present in any narrative too (Duke 1985:23). Amos (5:19) presents the judgmental oracle in a dramatic way, but the dramatic irony behaves as verbal irony (Duke 1985:23). Verbal irony might be accomplished in numerous ways. Duke defines irony as a literary device which has ‘a double-levelled literary phenomenon in which two tiers of meaning stand in some opposition to each other and in which some degree of unawareness is expressed or implied’ (1985:7). Colebrook proposes that ‘irony— the possibility that what we say might be read for what it means rather than what we say—is the very possibility of meaning’ (2000:24, 25). Patricia S Han observes that verbal irony, in contrast to the approach of psycholinguistics, linguistics anthropology and literary critics, does not exclude a discursive attitude of irony or the use of language (2002:31). These approaches may be distinguished in the level of discourse, sentence and text (2002:31). Sharp addresses the problem that ‘the literature is so vast that reviewing it comprehensively would be impossible … to cover theories of irony in the discipline of philosophy’ (2009:11). According to Christian Burgers, Margot van Mulken and Peter Jan Schellens (2011:187), studies on how verbal irony has been understood in recent years have contributed little information, and no systematic identification of irony has yet been developed. Conspectus, Volume 28, September 2019 7 In this study, however, we focus on verbal irony, based on Duke’s definition, as a method, in identifying irony as a literary stylistic device, and a literary interpretive strategy on selected complex texts, ironic metaphors, in the book of Amos 2.3 Review of Current Theological Perspectives of Irony in the Book of Amos 2.3.1 Shelly (1992) has made a great effort to focus systematically on irony in the book of Amos. Shelly combines the literary approach with the form-critical and traditio-historical methods to identify irony in Amos (1992:7). She is more interested in reading the text as a persuasive tool to prove that irony is part of rhetoric (1992:4). According to Shelly, the social and historical setting which depends upon the author and audience determines irony (1992:26). The ironic art of Amos includes ‘the use of conventional speech forms, traditions and other literary conventions like rhetorical questions, metaphors and wordplay’ (1992:154). Shelly suggests that ‘irony in Amos is shaped by a literary analysis of the text which is sensitive to the rhetorical dimensions of prophetic speech … as communicative discourse’ (1992:62). Sharp (2009) in her study of irony in the Hebrew Bible, sees the textual irony in rhetorical and theological hermeneutics (2009:9). On the rhetorical side, she believes that the spoken ironic is better understood than a ‘naïvely realistic reading of their plots and characters and rhetorics’. Sharp, believing her definition is neither static nor substitutional, affirms that the appropriateness, significance, and meanings of irony depend on the reader’s understanding of the texts (2009:25). Domeris has recently published an article on ‘Shades of irony in the anti-language of Amos’ (2016:1). The language of Amos could be described as ‘a wonderful mixture of humour and threat, sarcasm and irony, hyperbole and prediction’ (2016:1). According to Domeris anti-language ‘is more than an alternative reality; it is language in conscious opposition to a dominant group’ (2016:2). Domeris (2016:2), considering the development of the use of the notion of ‘anti-language’, ‘anti- society’, ‘insider-outsider’ and a notion of prophetic ‘opposition group’ by several scholars, uses ‘anti-language’ in his articles (1994, 1999) on Jeremiah to illustrate that Jeremiah, like Amos, ‘in defence of his position as a member of the Yahweh-only party … used irony, satire, sarcasm, humour and deliberate distortion to achieve his purpose’ (1994:9–14). Melles and Domeris, Irony as a Literary Stylistic Device in Amos’s Choice of Metaphors 8 The effect of anti-language and the dominance of irony are vital to understanding the book of Amos (Domeris 2016:7). Anti-language allows us to appreciate and see in the book of Amos a unified text and its irony as a means to an end (2016:7).
Load more

Recommended publications
  • Genesis and Development of Stylistic Devices Classifications
    Philology Matters Volume 2020 Issue 3 Article 6 9-20-2020 GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS Feruza Khajieva Associate professor (PhD), Department of English Literature Bukhara State University, Bukhara, Uzbekistan Follow this and additional works at: https://uzjournals.edu.uz/philolm Part of the English Language and Literature Commons, Language Interpretation and Translation Commons, Linguistics Commons, Other Languages, Societies, and Cultures Commons, and the Reading and Language Commons Recommended Citation Khajieva, Feruza Associate professor (PhD), Department of English Literature (2020) "GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS," Philology Matters: Vol. 2020 : Iss. 3 , Article 6. DOI: 10. 36078/987654447 Available at: https://uzjournals.edu.uz/philolm/vol2020/iss3/6 This Article is brought to you for free and open access by 2030 Uzbekistan Research Online. It has been accepted for inclusion in Philology Matters by an authorized editor of 2030 Uzbekistan Research Online. For more information, please contact [email protected]. Khajieva: GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES CLASSIFICATIONS Philology Matters / ISSN: 1994-4233 2020 Vol. 33 No. 3 LINGUISTICS ФМ Uzbek State World Languages University DOI: 10. 36078/987654447 Feruza Khajieva Феруза Ҳожиева Associate professor (PhD), Department of English Бухоро давлат университети, Инглиз адабиёти Literature, Bukhara State University кафедраси доценти, филология фанлари бўйича фалсафа доктори GENESIS AND DEVELOPMENT OF STYLISTIC DEVICES СТИЛИСТИК ВОСИТАЛАР ТАСНИФ- CLASSIFICATIONS ЛАРИ ГЕНЕЗИСИ ВА ТАДРИЖИ ANNOTATION АННОТАЦИЯ Тhe article discusses the problem of a stylistic Мақолада стилистик воситалар муаммо- device, its innate features and the literary, си, жумладан, уларнинг табиати ҳамда ва ба- aesthetic, imagery functions, the example to диий-эстетик, образлилик вазифалари таҳлил stylistic convergence is also given.
    [Show full text]
  • Construing the Elaborate Discourse of Thomas More's Utopia
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2006 Irony, rhetoric, and the portrayal of "no place": Construing the elaborate discourse of Thomas More's Utopia Davina Sun Padgett Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the English Language and Literature Commons, and the Rhetoric Commons Recommended Citation Padgett, Davina Sun, "Irony, rhetoric, and the portrayal of "no place": Construing the elaborate discourse of Thomas More's Utopia" (2006). Theses Digitization Project. 2879. https://scholarworks.lib.csusb.edu/etd-project/2879 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. IRONY, RHETORIC, AND THE PORTRAYAL OF "NO PLACE" CONSTRUING THE ELABORATE DISCOURSE OF THOMAS MORE'S UTOPIA A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Davina Sun Padgett June 2006 IRONY,'RHETORIC, AND THE PORTRAYAL OF "NO PLACE": CONSTRUING THE ELABORATE DISCOURSE OF THOMAS MORE'S UTOPIA A Thesis Presented to the Faculty of California State University, San Bernardino by Davina Sun Padgett June 2006 Approved by: Copyright 2006 Davina Sun Padgett ABSTRACT Since its publication in 1516, Thomas More's Utopia has provoked considerable discussion and debate. Readers have long grappled with the implications of this text in order to determine the extent to which More's imaginary island-nation is intended to be seen as a description of the ideal commonwealth.
    [Show full text]
  • The Limits of Irony: the Chronillogical World Of
    THELIMITS OF IRONY The Chronillogical World of Martin Arnis' Time's Arrow s a work of Holocaust fiction, Martin Arnis' Time'sArrm is as A, oving and disturbing as it is ingenious; indeed, it is Amis' narrative ingenuity that is responsible for the work's moral and emotional impact. What moves and disturbs the reader is the multitude of ironies that result from the reversal of time- the "narrative conceitn (Diedrick 164) that structures and drives the novel.' In Time'sArrow the normal present-to-future progression becomes the movement from present to past and the normative convention of realistic fiction-the inability to foresee the future- becomes the inability to recall the past. A narrator in Amis' Einstein's Monsters describes the 20th-century as "the age when irony really came into its own" (37) and Time'sAwow is an ironic tour-de-force if ever there was one. The minor and major ironies generated by the time- reversal all follow from the most important effect of the trope- the reversal of all normal cause-effect relations. (The minor become major as the reverse becomes increasinglypmerse.) The irony is structural-formal when the reader recognizes that the novel is an inverted Bihhngsromn- detailing the devolution of the protagonist- and an autobiography told by an amnesiac; but as might be expected, the trope results in an array of more locally comic, and then, grimly dark ironies. Indeed, the work's most disturbing effects are the epistemological and, ultimately, onto- logical uncertainties which are the cumulative impact of the narrative method.
    [Show full text]
  • Lexical Stylistic Devices and Literary Terms of Figurative Language
    International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8, Issue-3S, October 2019 Lexical Stylistic Devices and Literary Terms of Figurative Language Saidova Mukhayyo Umedilloevna Abstract: The degree of study and significance of lexical II. MATERIALS AND METHODS literary devices are carried out in the given article. The essential aspects of lexical devices and information about numerous The scientific and practical studies about linguistic terms methods of investigating and studying them are discussed. are based on ideas of Akhmanova (1966, 1990), Vasileva Terms belonged to the lexical level of the language and the (1998), Gwishiani (1986, 1990), Golovin (1976), Kulikova analyses of lexical devices given by several dictionaries of (2002), Petrosyants (2004), Podolskaya (1988), Slyusarova literary terms and sources are explained in the article. In this (1983, 2000), Shelov (1998) and others. In recent years, article we would like to refer to different approaches on study of studies on linguistic terms have been published and we can literary terms of figurative language, more preciously on lexical see these studies on Roman language terminology in works of stylistic devices. There are many types of figurative language, including literary devices such Nikulina (1990), Utkina (2001), Emelyanova (2000), as simile, metaphor, personification and many others. The Vermeer (1971), Zakharenkova (1999), German (1990), definition of figurative language is opposite to that of literal Golovkina (1996) [6, 11-41]. language, which involves only the “proper” or dictionary If we pay close attention to the aforesaid studies, we can definitions of words. Figurative language usually requires the see that literary terms which is the object of our research reader or listener to understand some extra nuances, context and project has been studied relatively rarely in Slovenian, allusions in order to understand the second meaning.
    [Show full text]
  • The Concept of Irony in Ian Mcewan's Selected Literary Works
    Univerzita Palackého v Olomouci Filozofická fakulta Katedra anglistiky a amerikanistiky Bc. Eva Mádrová Concept of Irony in Ian McEwan’s Selected Literary Works Diplomová práce PhDr. Libor Práger, Ph.D. Olomouc 2013 Prohlašuji, že jsem tuto diplomovou práci na téma “Concept of Irony in Ian McEwan’s Selected Literary Works” vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne Podpis I would like to thank my supervisor PhDr. Libor Práger, Ph.D. for his assistance during the elaboration of my diploma thesis, especially for his valuable advice and willingness. Table of contents Introduction 6 1. Ian McEwan 7 2. Methodology: Analysing irony 8 2.1 Interpreter, ironist and text 8 2.2 Context and textual markers 10 2.3 Function of irony 11 2.4 Postmodern perspective 12 3. Fiction analyses 13 3.1 Atonement 13 3.1.1 Family reunion ending as a trial of trust 13 3.1.2 The complexity of the narrative: unreliable narrator and metanarrative 14 3.1.3 Growing up towards irony 17 3.1.4 Dramatic encounters and situations in a different light 25 3.2 The Child in Time 27 3.2.1 Loss of a child and life afterwards 27 3.2.2 The world through Stephen Lewis’s eyes 27 3.2.3 Man versus Universe 28 3.2.4 Contemplation of tragedy and tragicomedy 37 3.3 The Innocent 38 3.3.1 The unexpected adventures of the innocent 38 3.3.2 The single point of view 38 3.3.3 The versions of innocence and virginity 40 3.3.4 Innocence in question 48 3.4 Amsterdam 50 3.4.1 The suicidal contract 50 3.4.2 The multitude
    [Show full text]
  • Enhancing the Students' Rhetoric Attainments in Teaching of College
    Sino-US English Teaching, July 2019, Vol. 16, No. 7, 300-305 doi:10.17265/1539-8072/2019.07.003 D DAVID PUBLISHING Enhancing the Students’ Rhetoric Attainments in Teaching of College English Intensive Reading ZHANG Rong-gen Shanghai Publishing and Printing College, Shanghai, China Beginning with various definitions of rhetoric, the paper gives a survey of some common English rhetoric figures found in College English intensive reading, such as metaphor, simile, transferred epithet, allusion, hyperbole, personification, metonymy, antithesis, onomatopoeia, double negative, inversion, rhetoric question, parady, transferred negation, and the like. By elaborating the functions of those rhetoric figures, the paper attempts to enhance the students’ rhetoric attainments and arouse their interest in learning English. Keywords: rhetoric attainments, rhetoric figures, College English teaching Introduction Some students often complain that the teaching of College English intensive reading course is so monotonous. It is really the case. How can a tasteless person feel his delicious food? And a certain rhetoric attainment is the prerequisite for the student to enjoy this “delicious food” of College English intensive reading course. The category of rhetoric is quite broad, one of which definitions is given by Aristotle as the art of public speaking by means of persuasion (Aristotle, 1954, pp. 2-12); and Hartwell extends the definition of rhetoric as the art of using words in speaking or writing (Hartwell & Bentley, 1982, pp. 1-15). That is to say, rhetoric contains both the art of public speaking and the method of composition. According to Chen Wangdao, a modern Chinese rhetorician, rhetoric includes both active rhetoric and passive rhetoric.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 447 Proceedings of the International Scientific Conference on Philosophy of Education, Law and Science in the Era of Globalization (PELSEG 2020) Stylistic Devices of Creating a Portrait of the Character Artistic Image (Based on the Work of Thomas Mayne Reid) V. Vishnevetskaya 1Novorossiysk Polytechnic Institute (branch) of Kuban State Technological University 20, ul. Karl Marx, Novorossiysk, 353900, Russia. E-mail: [email protected] Abstract —The article considers the stylistic devices used for II. MATERIALS AND METHODS the portrait description of the character of the artwork. It is necessary to emphasize that stylistic devices play quite an In our work, we use the methods of comparing and important role in creating the artistic image of the character. At contrasting which help the author to create special portrait of a the same time, stylistic devices mainly emphasize not only the character. Stylistic devices are important line elements of the specific features of the exterior, but also various aspects of the portrait description. The process of creating a character visual impression, while bringing to the forefront the features of portrait image uses all the existing stylistic devices that are the drawing image that seem important to the author for one used in the English language system. The most used stylistic reason or another. And, here, the emotional characteristic of the devices are metaphor, epithet, comparison, metonymy and portrait described is becoming significant, and the impression others. that the image formed by the author can make. Stylistic devices are an important line element of the portrait description.
    [Show full text]
  • Translation of Stylistic Devices in Contemporary Young Adult Fiction
    ISSN 1648-8776 JAUNŲJŲ MOKSLININKŲ DARBAI. Nr. 2 (46). 2016 Doi: 10.21277/jmd.v2i46.60 TRANSLATION OF STYLISTIC DEVICES IN CONTEMPORARY YOUNG ADULT FICTION Roberta Strikauskaitė Šiauliai University Introduction Translation of fiction Due to the increasing teenage interest in Translation as such first and foremost is an books, scripture becomes a source of language, in activity for social purposes the aim of which is a sense that youngsters learn new words, phrases, communication. As a process it consists of a number of allusions or metaphors and incorporate them in their stages, each of them being equally important in order everyday language. K. Urba (2013) describes the to convey the idea of the source text in the highest situation of teen literature in Lithuania as relatively quality. Navickienė (2005, p. 30) has determined four bad compared to that in other countries. Therefore, steps and defined them as: 1) analysis of the original demand for popular reads requires a quick reaction text; 2) search for equivalents; 3) synthesis of the when translating such books. However, translating original features and equivalents; 4) analysis of the young adult fiction is a challenging task due to the use translated text. of slang and other colloquial vocabulary or stylistic Analysis of the original helps to determine the devices. type of the text and thus distinguishes the purpose of The stylistic side of translation (and writing translation. Search for equivalents results in choosing to some extent) plays one of the biggest roles in a translation technique, scanning for culture-specific providing readership with a proper equivalent of terms and their counterparts relevant to the speakers fiction.
    [Show full text]
  • The Stylistic Features of the Nature Descriptions in the English Literary Novels
    Science and Education a New Dimension. Philology, IV(27), Issue: 107, 2016 www.seanewdim.com The stylistic features of the nature descriptions in the English literary novels M. H. Shemuda SHEE “Pereyaslav-Khmelnytskyi State Pedagogical University named after Hryhoriy Skovoroda”, Pereyaslav-Khmelnytskyi, Ukraine Corresponding author. E-mail: [email protected] Paper received 26.10.16; Revised 01.11.16; Accepted for publication 05.11.16. Abstract. The article is devoted to the problem of the nature descriptions’ role in the English literary novels. The stylistic features of the nature descriptions in the English literary novels are found out and analyzed. The author emphasises that the identified stylistic devices help create the pervading atmosphere of the novels, transmit the characters’ feelings, give the amazing similies, endow the nature with the human traits. It is defined that the main themes and ideas of the novels are sent through the nature descriptions. Keywords: nature descriptions, English literary novels, stylistic features, stylistic devices. Introduction. One of the main problems linguostylistics summer weather as a good sign of the future events: “One deals with is the study of the stylistic devices and fine summer morning – it was the beginning of harvest” expressive means of the language, appropriate and [2, p. 56]. That fateful day when Catherine and Heathcliff contextually driven use of which allows to give a deeper escaped the house, forcing maid Nellie worry, a and clearer presentation of the content of art and depict monotonous sound of the rain only enhances the alarm: the artistic images. The study of the literature is “I, too, anxious to lie down, opened my lattice and put my impossible without nature studying because the literary head out to hearken, though it rained” [2, p.64].
    [Show full text]
  • Stylistic Analysis of the Selected Short Stories by Mary Flannery O'connor and William Sydney Porter
    Stylistic Analysis of the Selected Short Stories by Mary Flannery O'Connor and William Sydney Porter تحليل اﻻسلوبية في القصص القصيرة المختارة لدى المؤلفين ماري فﻻنرى او كونر ووليم سيدني بورتر Prepared by Zainab Ali Abed Supervised by Dr. Mohammed Mahameed A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of Master in English Literature Faculty of Arts and Sciences Department of English and Literature Middle East University May, 2019 II Authorization III Thesis Committee Decision IV Acknowledgement First and foremost, my thanks go to the Almighty God for providing me with everything I needed for this research. I would like to thank my supervisor Dr. Mohammed Mahameed for his guidance and support to get this thesis. My gratitude goes to the faculty members for their kindness, encouragement and understanding. My love and respect go to all those who offered me help and for their brotherly assistance, I say thank you. The Researcher V Dedication This thesis is dedicated to my beloved sister Dr. Kawthar who always supported me and encouraged me to achieve my goals. To my beloved brother who stood by my side whenever I needed him. To my family and to all those who supported me in one way or another with their cooperation and courtesy. The Researcher VI Table of Contents Subject Page Title ……………………………………………………………………………. I Authorization ………………………………………………………………….. II Committee Decision …………………………………………………………... III Acknowledgement …………………………………………………………….. IV Dedication ……………………………………………………………………... V Table of Contents ……………………………………………………………… VI English abstract ………………………………………………………………... IX Arabic abstract ………………………………………………………………… X Chapter One 1.1 Introduction …………………………………………………………... 1 1.2 Biography of the authors ……………………………………………... 4 1.3 Statement of the problem ……………………………………………..
    [Show full text]
  • Descriptive Writing.Pdf
    Let's f)escribe Descriptive writing rto: of writing thar i i atempts ro share with the reader j": *n;; m u s, u s e w ord "; with*:i:,r.T* the color, #:j::: age, size, ::: s de a,i n g "::'":J::jshape, scent, sound,^:::rr9,i" materiar, ,""r".l,lttnllrlJTHrfi:ffi temperature' The use of descriptive words and phrases esting and gives rur.., the writing more inter- the reader a tetter understaniing of and settings' problems, characters, Descriptive writing makes the subjeJt.o.n.-utiu"."urnir, when this happens, easier for the readei to ;lffi"#:t become invotved with the characters unoit.i. Read the folrowing exampre of descriptive writing. Then answer the questions. My rittle brother Andrew had a very large, flrffy, brlc-k -{ white blaze dog. The dog,s name was decorated her forehead uno Murphy. onJorrr". r.gr.-uer shiny coat glistened. Murphy was^very smart. By the time she was one yelr_grd, Murphy was already weil things when instructed Her ravorit"iov ::il:lr:f;ffT;:;lrTjfl.iTf# 'u, a sort, red, Murphy tu'1very friendly doug' very quier and serdom tiiendliness' Murphy would lT :l barked or growred. In her t'n to uiyon" who came near. prayful pant leg or sleeve Murphy might tug on your if given the chance. rhor" who play' knew h", uno"rrtood that she just Strangers' however' were often wanted to frightened u, ,rr" ,igrr, ,r this.big, shaggy dog running at rrom this;;"d";:""t ffi'ilTl; lll;Ji3J,,??T::ifl**1iJ.",,l::?; '.'"; Murphy ivas l.
    [Show full text]
  • Literary Terms-Key
    Malcolm Literary Terms ________________________ English 11 Name 1. Allegory – A story with 2 levels of meaning: literal and symbolic 2. Alliteration – Repetition of a consonant sound at beginning of words. 3. Allusion – Reference to well-known people, places, events, work of literature, etc. 4. Ambiguity – When a statement contains 2 or more possible meanings. (“I promise I’ll give you a ring tomorrow.”) 5. Ambivalence – The state of having 2 opposing feelings toward a person or thing at the same time. (“Can’t live with you, can’t live without you.”) 6. Analogy – The comparison of a new idea to a well-known idea to aid in comprehension 7. Anecdote – A brief story about an interesting, unusual, or humorous event 8. Antagonist – Character or force in conflict with the main character. (The Joker, The Green Goblin) 9. Antanaclasis – Stylistic repetition of a word utilizing different definitions of the word each time (“We must all hang together, or assuredly we will all hang together.”) 10.Antithesis – The use of phrases with opposite meanings in close conjunction. (“One small step for man; one giant leap for mankind.”) 11.Aphorism – A general truth or observation about life, often witty. (An apple a day keeps the doctor away.) 12.Apostrophe – figure of speech in which the writer directly addresses the reader or an absent/abstract idea. (Build thee more stately mansions, oh my soul.) 13.Aside – In drama, a short passage that an actor speaks to the audience and the other characters pretend they cannot hear. 14.Assonance – repetition of vowel sounds. (Ashley asked for applesauce after her anchovies.) 15.Autobiography – Work of nonfiction in which the author writes about his/her own life.
    [Show full text]